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ESCAPE-ISM — the found-sound dreamdrama— are back in action & out in front. And this time, they’re leading a “Charge of the Love Brigade. ”This “charge” isn’t the traditional scramble across a muddy, bloody field though, like in the days of yore. This one is a furtive insinuation into the senses of the tuned-in listener.
Their fifth record, and fourth “sound” record — (the third one was “A Protest Against Sound”- an entirely silent LP) — “Charge of the Love Brigade” is revolutionary in its own right. Besides being packed with tunes — super-hits such as “Black Gold,” “Last Of The Sellouts,” “The Rebel Outlaw,” & “Fire in Malibu,” for exam- ple, Charge of the Love Brigade proposes a reformation of the traditional notes and scales; an entire new sound alphabet!
That’s right, ESCAPE-ISM —the “act of musical vandalism”— famous for their development of new prototypes for stomping & smashing, are reforming the scales, chords, & notes (e.g. A, B, F#, etc) that comprise musical literacy to achieve the group’s primary aim: the repurposing of music as we know it. Though many musicians of note have operated their instruments with "alternative tunings," up until now no one has obliterated tuning absolutely or abolished letter-notes for the destruction of bourgeois society.
According to ESCAPE-ISM, this will have a very profound effect: “Music will no longer be cordoned off from the rest of experience as a commodified, specialty freak show, but instead be a pastime which can be prac- ticed and enjoyed –not only by non-musicians and amateurs– but also by plant life, wild animals, and even inanimate objects such as rocks.
“The violent overthrow of musical conventions will lead to the reintegration of humanity into the natural order, the reordering of life itself into a cosmic congruity. This means the convention of time itself will be ended.” Like so-called nature itself, the ESCAPE-ISM group is also on a “loop.”
Play “Charge of the Love Brigade” and listen as ESCAPE-ISM go “over the top” against the note-letters of accepted musicality in a world premiere of a new upside-down antiscale.

2026 Repress

Trickpony rightfully return with their sensual sophomore record, a six track tip of downtempo anthems elaborating on the sonic blueprint established through Pillow Talk (STEP11). Contemporary trip hop revivalists at the core; the trio specialise in new age pop collages, stripped, subbed and dubbed for your pleasure. With whispered secrets tangled over atmospheric decay and hooks that tug at heartstrings, the trickpony DNA is embedded deep in the musical discourse; “24/7 Heaven” elevates even the most devious to a divine higher place.

From top to tail slung breaks crash like waves, rolling and seeping into opulent synthesis which fills the room. Sometimes music can say a thousand words without a single lyric; Ripple and Trick Trick fixating on textural constructions, layers of harmonic delight working in unison with forward thinking percussion patterns. Angel and No/Direction delve deeper into a more sparse, stripped back landscape; delayed fragments with room to breathe between vocal stylings that will lodge themselves into your memory one word at a time.

Closing with a psychedelic exploration, Memphis Light derails structure formula and drum&bass starts to feel technicolour. With an understated maturity exuding from all angles, STEP17 offers an introspective assortment of illustrious songs ready to reach into your subconscious.

London-based sonic champion Shy One releases her long-awaited second album Mali on Errol and Alex Rita"s Touching Bass. So-called after her given name, Mali is a confident, future-facing ode to Black British electronic music and diasporic lineage. Informed by the full spectrum of London sound that she was raised on - with a vital cast of Black British collaborators including George Riley, Steve Spacek, James Massiah and Private Joy.

Well, this release is like the icing on the cake for me. This is the first release I tried to sign to Vinyl Fanatiks once I knew we were creating a record label in early 2019. The problem being though - we couldn't locate Dimension! But now we have and I can finally bring to you my favourite rave release from back in the day!

Six killer tracks - zero filler here! A slice of UK dance music history that inspired so many.

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark. Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.

Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from Danny Tenaglia (Code 718), George Morel, Kerri Chandler (KCYC), Louie Vega and more all feature on part 1 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020. Happy birthday Strictly Rhythm!

COLLECTING ORDERS FOR REPRESS

With a name that evokes experimentation and defiance of the mainstream, Laboratoire Obsolète is more than just a record label it´s a creative laboratory where sounds alchemist can craft groundbreaking compositions, redefining the very essence of music.

Repress on neon magenta vinyl, limited to 200 copies. Portland, Oregon based quartet Hippie Death Cult present their sophomore album "Circle Of Days". An album that serves as a musical bridge to their critically acclaimed debut "111", while being a fresh exploration of sound and vision. "Circle Of Days" is a pensive reflection of frustration and hope, experienced as we evolve from the confinements of self indulgence and into a more altruistic mindset. Listeners new to HDC can expect to hear a band that feels familiar yet also unique. Hippie Death Cult are a group with their own musical identity. One that manages to be influenced by great rock and metal bands of the past while not becoming a blueprint of them.

Die internationale Rocksensation The Hives, die beste Liveband der Welt und immer noch eure neue Lieblingsband, hat wieder einmal, schneller als erwartet, ein neues Werk geschaffen, wie man es noch nie gehört hat und wahrscheinlich auch nie wieder hören wird. Ihr siebtes Album 'The Hives Forever Forever The Hives' erscheint am 29. August auf dem ehrwürdigen Label Play It Again Sam. Ein neues Album voller Energie, Freude, Wut und Leben! Jeder einzelne Song eine Single, jede einzelne Single ein Hit, jeder Hit ein Volltreffer mitten ins Gesicht. Diese neue Meisterwerk entstand unter der Leitung des langjährigen Kollaborateurs Pelle Gunnerfeldt in Stockholm. Mike D von den legendären Beastie Boys ist als Gast vertreten und auch Josh Homme (Queens Of The Stone Age) stand mit Rat und Tat zur Seite.

The Hives, bestehend aus Howlin’ Pelle, Chris Dangerous, The Johan And Only, Nicholaus Arson und Vigilante Carlstroem, haben sich in über dreißig Jahren in die Annalen der Rockgeschichte eingeschrieben. Dank ihrer Erfolge füllten sie große Stadien und teilten die Bühne mit so monumentalen Acts wie AC/DC und den Rolling Stones. Die BBC bezeichnete sie als „Naturgewalt“, und der Rolling Stone kürte ihr Album 'Veni Vidi Vicious' zu einem der 100 besten Alben des Jahrzehnts. Mit Millionen verkaufter Alben, Platin-Auszeichnungen und zahlreichen Preisen - Grammys, MTV Awards, NME Awards - gelten sie als Titanen der Musikwelt. Oder wie Joe Strummer es gesagt hat: The Hives haben den Rock ’n’ Roll gerettet!

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

In 1962, Black Music was making its transition from R&B to soul and the Chicago music industry was exploding, producing thousands of records and dozens of new labels. The two biggest black labels Vee-Jay and Chess led in the creation of the distinctive, smooth, Chicago soul brand with names familiar and not so familiar: the former with Curtis Mayfield and Jerry Butler and the latter with Mitty Collier, Etta James and Billy Stewart. And yet it's the smaller labels that make up the bulk of the Chicago story: Hawk with Geraldine Taylor, Lu-Cee with Roberta, M-Pac with Dorothy Prince and it's here that we explore some of the finest sounds of the era in this collection. Extensive liner notes written by Robert Pruter, author of the acclaimed 'Chicago Soul'. Side One. 1. The Town I Live In - McKinley Mitchell 2. I'm The One Who Loves You - The Impressions 3. Shake A Tail Feather - The Five Du-Tones 4. Mama Didn't Lie - Jan Bradley 5. Make It Easy On Yourself - Jerry Butler 6. Seven Day Fool - Etta James 7. The Blues Don't Like Nobody - Tony Adams 8. I've Got To Get Away From It All - Mitty Collier 9. How Much Longer - Geraldine Taylor 10. I'm On The Prowl - Roberta. Side Two: 1. Fat Boy - Billy Stewart 2. Can't Take No More - Ted Taylor 3. I Don't Want To Suffer - Walter Jackson 4. Open Your Heart - Sugar Pie DeSanto 5. Shook Up Over You - Dee Clark 6. Something's Got A Hold On Me - Etta James 7. Why Not Tonight - Dorothy Prince 8. Delilah - Major Lance 9. Money In My Pocket - Moss Tolbert

Dusty Springfield hosted this impromptu TV special to promote the Tamla Motown artists that were taking part in their first ever European tour in 1965. Motown sent over their six premier - The Supremes, The Temptations, The Miracles, Stevie Wonder, Marvin Gaye, Martha & The Vandellas were all backed by the Motown house band, The Earl Van Dyke Sextet. Dusty was a huge Motown fan and was keen to play her part in bringing the acts to a wider audience. The Beatles and the Stones also went out of their way to give Motown a mention in their interviews. Remember, Motown had only just launched its label in Europe earlier that year and the artists were known only to a small number of soul aficionados, so ticket sales for the tour were very poor. Mary Wilson recalls that the acts referred to it as the ghost tour, but they all put a performance for this fabulous TV show.

When Aretha Franklin passed away on August 16, 2018 we lost the Queen of Soul, acknowledged as the foremost female singer of her generation, someone who sold over 75 million records in her glittering career. The sadness that so many soul fans felt at that time was most acute knowing that we would never hear her beautiful voice on any new recordings. So it is with great pleasure that we present a live set from Aretha never before heard on a commercial CD. And it is with pride that we can say that the recordings, made in a TV studio in Cologne during her first European tour in 1968, are smack in the middle of soul’s Golden Age. The musical quality - the great artist at her peak – is so high that this issue can only enhance her reputation. This is prime Aretha Franklin – and soul music doesn’t get much better than this. Notes by John Ridley.

Headline: Alexis Taylor von Hot Chip setzt seine Soloreise fort.

Alexis Taylor zählt zu den markantesten Singer-Songwritern des UK, der mit seiner unverwechselbaren Stimme ein beachtliches Solowerk geschaffen hat. "Paris In The Spring" ist sein bisher persönlichstes Album, das individuelle wie auch universelle Gefühle offenbart. Die Texte scheuen sich nicht vor eindringlichen Themen, doch musikalisch präsentiert sich die LP unbeschwert, beschwingt und zeitgemäß, mit eleganten Disco-House-Elementen, sinnlichen Basslinien und von Vangelis inspirierten Klanglandschaften.

Taylor hat für diese lebendige Klangwelt namhafte Künstler ins Boot geholt, darunter Nicolas Godin (Air), The Avalanches, Lola Kirke, Oli Bayston, Étienne de Crécy, Elizabeth White (Pale Blue) und Green Gartside (Scritti Politti). In dieser Welt trifft ein intimer Country-Stil auf die eingängige Popmelodie von Paul McCartney, den futuristischen Funk von Sly & The Family Stone und, so Taylor, "Synthesizer, die im Regen stehen gelassen wurden". Hier verschmelzen britisches Americana und französisches Flair – irgendwo auf dem Mars. Das Ergebnis ist ein Album über die Freiheit von Zwängen, von Vorurteilen, von Genregrenzen. Taylor experimentiert mit verschiedensten Musikstilen – Country, Folk, Disco – und hat sie zu etwas Einzigartigem verwoben.

"No Regrets" wurde 2003 veröffentlicht und ist das vierte Album der schwedischen Hardrock-Band Hardcore Superstar. Das Album setzt ihre charakteristische Mischung aus Sleaze-Rock, Glam-Metal und Punk-Energie fort und liefert eine Sammlung von rohen und hochoktanigen Tracks.

Herausragende Songs wie "Still I'm Glad", "Honey Tongue" und "No Regrets" zeigen das Gespür der Band für ansteckende Melodien, düstere Gitarrenriffs und rebellische Attitüde. Während sie ihren unverkennbaren Sound beibehalten, ist das Album im Vergleich zu seinem Vorgänger etwas härter und düsterer ausgefallen.

Obwohl "No Regrets" ihr letztes Album vor einer kurzen stilistischen Veränderung war, bleibt es ein Fan-Favorit und ein wesentlicher Teil der Entwicklung von Hardcore Superstar. Vollgepackt mit Attitüde und hymnischen Hooks festigte das Album ihren Ruf als eine der führenden schwedischen Hardrockbands, die Fans von Sleaze und Classic Rock gleichermaßen anspricht.

"No Regrets" ist in einer limitierten Auflage von 666 einzeln nummerierten Exemplaren auf Translucent Red Vinyl erhältlich

For here lies one of the most influential bands in the realm of gothic metal, a group with doom and death metal roots that has flourished for over three decades, boasting thirteen albums that have garnered devoted acclaim. This injustice is now being set right by The Circle Music , beginning with the vinyl release of the classic album "Burning: A Wish", which emerged twenty-four years ago. "Burning: A Wish", released in the twilight of the year 2001, stands as a dark reliquary of dreams lost to the velvet fog of melancholy. To revisit it now, two dozen years later, is to unseal a time capsule of gothic ache, doom- laced longing, and the tormented tenderness that only Lacrimas Profundere could conjure at their creative height. It was a candle-lit corridor between worlds. A slow fall into velvet shadows. A scream muffled by rain.

By the time "Burning: A Wish" was released, Lacrimas Profundere had already begun to evolve from their early death- doom origins, shaping their identity with the sophistication of seasoned mourners. The death growls had receded, replaced by the haunted, baritone croon of Christopher Schmid, whose voice is an echo from a chapel ruined by time. Yet, while the growls faded, the emotional gravitas remained intact, transmuted into melody, into baroque gloom, into something more sorrowfully refined. Produced with lush, theatrical clarity, the album never drowns in its own atmosphere, it breathes with it, moves with it. The soundscape is dominated by somber guitar textures, languid tempos, and subtle orchestral touches. From the very first notes, it is clear that this is music for ruined lovers and moon-drenched graveyards.

This is the hallmark of Lacrimas Profundere 's style: an emotional minimalism that does not explain or elaborate, but merely opens wounds and lets them breathe. That this album has remained, until now, absent from the warm embrace of vinyl is both tragic and oddly poetic. For what format better suits a record such as this than the one that cracks and hisses like an old seance? Vinyl is tactile, intimate. It requires attention, reverence. To place Burning: A Wish on a turntable is to light a candle in the dark.

The Golden Age of southern soul lasted from about 1962 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana's swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, this LP reveals the musical antecedents that gave southern soul its inspiration. The music here will tell you the real story - and it will knock your socks off too! Notes by John Ridley.

Rotating Irish/international collective United Bible Studies (UBS) releases its 28th album, Strange is the Coastline, this Autumn (CD on Talking Elephant Records / LP on Hobby- Horse).
The album is preceded by the single ‘In The Arms of Lewes’ which was available on all digital platforms from 14th August.
'Strange Is The Coastline' is a collection of original folk-rock songs written by current core members David Colohan (co-founder of UBS) and Alison O’Donnell (Mellow Candle) in the company of multi-instrumentalist Steven Collins (The Owl Service). Melding and meshing classic folk, contemporary pop, and passionate tune-smithery in an inspiringly complementary way; disparate, yet delightfully cohesive, with themes of Albion myth and legend to Victorian-era murder ballads via tales of chilling contemporary stalkerss, and climate chaos.
United Bible Studies was formed in 2001 and over the last couple of decades has been home to a head-spinning array of performers in an ever-evolving merry-go-round of studio and live personnel. Drawing on the broadest community of musicians, the band have created an impressive catalogue of 28 albums of studio and live recordings.
Standard weight black vinyl LP in picture sleeve with lyric booklet. 300 copies for the World.

“...teems with bushy-tailed folk-rock about Albion and Ireland, as well as brutal, bracing songs about singer Alison O’Donnell’s experiences with a former stalker, such as the startling You Often Hid”. (THE GUARDIAN)